The Infinite Zenith

Where insights on anime, games, academia and life dare to converge

Tenki no Ko (Weathering With You): A Review and Reflection on Makoto Shinkai’s 2019 Film

“I always say: in survival, I’m either dealing with bad weather, or preparing for it.” –Les Stroud, Suvivorman

Tenki no Ko (天気の子, literally “Children of the Weather” and English name Weathering With You) is Makoto Shinkai’s sixth feature-length film that premièred in Japan on July 19, 2019. Shinkai is described to have seen a towering cumulonimbus cloud over Tokyo in late August, shortly after Your Name‘s screenings began in 2016, and began wondering to himself, “what if the cloud tops were an island?”. This materialised into the inspiration for Weathering With You, a film that ultimately grossed 226.16 million CAD internationally and won several awards, including Anime of the Year at the 43rd Japan Academy Film Prize, as well as being nominated for several other awards. At its core, Weathering With You follows Hodaka Morishima, a high school student who runs away from home and finds himself in Tokyo. During a freak down-burst on a ferry that threatens to wash him overboard, he is saved by Keisuke Suga, who gives him a business card. After arriving in Tokyo, Hodaka struggles to find work and support himself. Amidst the seedier parts of Tokyo, he finds a discarded Makarov PM pistol, and one day, encounters Hina Amano at a McDonald’s, who pities him and gives him a meal on the house. With his funds dwindling, he decides to take up Keisuke’s offer and arrives at the address on the business card. After meeting Natsumi, Keisuke’s niece, he is offered a job and explores urban legends as a part of his job to write magazines articles. One excursion has Natsumi and Hodaka learn of the weather maiden, an individual blessed with the power to manipulate the skies. Settling into life as an assistant, Hodaka encounters Hina in the company and attempts to rescue her, eventually discharging the side-arm he found to scare them off. He and Hina escape, and here, Hina reveals an unusual ability to clear the skies of rain that came after she crossed a torii on the rooftop of an abandoned high-rise. Realising that Tokyo’s been raining non-stop, he proposes starting a business to utilise Hina’s powers to help those around them, and they become an overnight success, participating in events from weddings and sports meets to creating a miracle for Tokyo’s Jingu-Gaien Fireworks Festival.

However, after spotting footage of Hodaka on a pole-mounted CCTV, the Tokyo police become interested in the pistol that Hodaka found and begin searching for him. Keisuke distances himself from Hodaka and fires him, but not without telling him to look after himself. After evading beat cops, Hodaka, Hina and her younger brother, Nagi, overnight in a hotel, where Hina reveals use of her power comes at a cost, and that she must sacrifice herself entirely to restore balance to Tokyo’s unusual weather. Despite Hodaka’s promise to protect her, Hina disappears the next morning, and Hodaka is arrested. He manages to escape custody, and with Natsumi’s help, arrives at the derelict building and attempts to reach the torii, but runs into Keisuke. While he had intended to talk sense into Hodaka, he realises the strength of Hodaka’s feelings for Hina and helps him to escape the police. Upon reaching the torii, he is whisked into the skies and manages to save Hina, convincing her to live for her own happiness. In the aftermath, he is arrested and sent back home. Over Tokyo, the skies continue to rain, flooding the city and forcing its inhabitants to move. Three years later, Hodaka returns to Tokyo after graduating and his probation ends. He meets with Keisuke, who is now running a more reputable publishing firm and encourages him to follow his heart. On a bridge overlooking the submerged Tokyo, Hodaka reunites with Hina and promises that things will be okay from here on out. With a run-time of one hour and fifty-two minutes (six minutes more than Your Name), Weathering With You had found itself in the shadows of its predecessor and ultimately, continues in dealing with Shinkai’s themes of love, separation and reunion, as well as the forces of nature that bring people together and drive them apart. Whereas Your Name utilised catastrophe as its motivator, Weathering With You, true to its title, employs the phenomenon of weather to present new themes alongside familiar ones.

Major Themes in the movie

While Weathering with You has a distinct weather motif, the notion of taking responsibility for one’s actions lies at the heart of the film; in the beginning, overwhelmed by his circumstances, Hodaka decides to run away from home and is bound for Tokyo. In his situation, he feels unable to take control and therefore, responds in the only way he can. Upon arriving in Tokyo, Hodaka initially expresses an unwillingness to take responsibility for anything because he seems to be on the back-foot all of the time. When his funds run out and it seems as though there’s no other way, however, after Hodaka meets Hina for the first time, her warmth and kindness instigates a change in him. He begins to take the initiative, and seeks out Keisuke to better his situation. In shouldering more responsibility, Hodaka begins to mature, although he remains brash, impulsive and hot-headed: this is how he formally meets Hina. The journey that Hodaka and Hina take together is one of ups and downs, giving the two great happiness as well as challenges. Over time, Hodaka’s feelings towards Hina manifests as love, and from here, Hodaka’s actions begin shifting; he starts acting in her interests, and while he might initially be seen as shirking responsibility for his actions, such as when he runs away from the police station after his capture, he is actually acting for another reason. Once he recovers Hina from the heavens, Hodaka stops running away: he is ultimately arrested, tried and returned home, but promises to uphold his promise to Hina. After his graduation, he ends up keeping true to his word, and taking responsibility for the consequences of his action, returns to Tokyo to find Hina and fulfil his promise of being with her. Weathering with You presents a tale of responsibility and how one may uphold their word, as well as what sacrifices are necessary; in this film, Makoto Shinkai suggests that if one’s word is worth keeping, then one should keep it even if there is another cost incurred. Hodaka’s time in Tokyo pushes him to learn the meaning of responsibility, and it turns out that love is a powerful instructor; in order for Hodaka to have found happiness with Hina, he would’ve necessarily needed to stop running from his problems and face them. In returning to Tokyo, speaking with Keisuke and finding Hina, audiences are assured that Hodaka has evidently matured, understands what it means to own his actions, and ultimately, is better prepared to support and love Hina than he was when they had first met, no matter what the weather might be.

Les Stroud describes the weather as being the single most dangerous factor in survival, with extremities negatively affecting one’s survival and drastically introducing challenges. In Weathering With You, Makoto Shinkai presents the weather as a natural phenomenon whose impact is less tangible; rainy skies are associated with separation, melancholy and lethargy, seen when Keisuke laments being unable to see his daughter owing to rainy weather, as well as causing the interruption or fouling of events as varied as weddings, sports meets and fireworks events. By comparison, clear weather is a time of happiness, togetherness and adventure. Under good weather, people spend more time together and create more memories together. Hina’s power, then, is a symbol of hope for Tokyo’s residents, who are inundated with rainy weather, wherein the dampness appears to seep into one’s very bones and saps people of their happiness. However, Hina’s power comes with a terrible cost, consuming her own life energy and rendering her increasingly transparent. As she strives for the happiness of others, this comes at great expense to herself. This is the primary conflict in Weathering With You that Hina must deal with; having lived a life without clear purpose or direction, when she is given a chance to impact the lives of others in a meaningful way at a personal cost, which decision she should take becomes muddled. On one hand, meeting Hodaka and spreading happiness through her power has made her happy, but on the other hand, having begun to fall in love with him, Hina appreciates that being with him means not interfering with the weather further. In creating this conundrum for Hina, Shinkai suggests in natural systems like the weather, interference usually carries a cost. Shinkai indicates that things like the weather are immensely complex, in comparing the weather patterns to the work of deities, and for humans to impose their will on these systems only ever yields a short term result. The sunshine that Hina brings is not long-lived, and the rain inevitably returns, stronger than before. The devastation wrought on Tokyo, then, as a result of Hina’s actions, shows that even if it were possible to intervene in natural phenomenon, to do so extracts a toll on those who do not fully understand the nuances of the system they intend to alter.

However, while Shinkai indicates that the weather is phenomenon that humanity must learn to live with, he also suggests that as a species, we are remarkably resilient, constantly striving to better a situation. This is what Hodaka represents in Weathering With You; the deck is constantly stacked against him, but he survives and always seeks a way to better his circumstances. After arriving in Tokyo, he transitions from one spot to another in search of opportunity, bringing him to his fateful meeting with Hina. When he accepts a job with Keisuke’s publishing company, his situation improve enough to where he is able to meet Hina again. Captivated by Hina, Hodaka ends up moving heaven and earth to be with her: his devotion borders on foolishness, and so strong are his feelings that he is willing to run afoul of the law and systems far beyond his comprehension to be with her, whether they be natural or man-made. Driven by his unwavering desire to be with Hina, Hodaka’s determination and persistence is a representation of how powerful love is: he comes to personify the human spirit and how far people are willing to go for one another and their own survival. The film scales this up towards its ending; even as Tokyo begins flooding from ceaseless rain, the citizens’ own resilience leads them to continue living even as a familiar livelihood is disrupted and submerged by unfeeling flood waters. Although people may go through trials and tribulation, their innate desires to survive win out: necessity has driven some of humanity’s greatest innovation and stories of courage, resilience. Altogether, through Weathering with You, Shinkai suggests to the viewer that even when confronted with the unknown, the bonds that connect people are stronger still, and in the end, people will find a way to make it, whatever it takes. As Weathering with You draws to a close, Hodaka and Hina’s reunion marks the beginnings of a new path, one where each will have the other to support and be supported by as the walk their future together.

Personal thoughts on the movie

With its conclusive ending, Weathering with You is a satisfying film to watch, featuring a combination of heartfelt moments, portrayals of everyday life and enthralling action sequences that come together for a big finish. However, it becomes clear that Weathering with You has also inherited much from its predecessor; a star-crossed love story backed by supernatural phenomenon also was at the core of 2016’s Your Name, and both movies utilise the extraordinary to demonstrate the strength of love. Your Name was a powerhouse performance because every action Taki and Mitsuha took in the film served to help them come together during the climax. By comparison, Weathering with You is missing that same coherence in a few areas: the movie is very busy in places as Hodaka struggles to make ends meet, winds up in the seedier parts of Tokyo and comes across a Makarov pistol. This pistol ends up setting in motion events that, while conferring an opportunity for Shinkai to incorporate a vehicle chase, also added nothing substantial to the film’s central message. The presence of social workers and police officers seeking a runaway after Hodaka’s parents reported their child missing would have provided enough of a motivator for Hodaka’s actions towards Weathering with You‘s climax; giving Hodaka a pistol did very little to make his feelings more apparent than it had already been. Similarly, folklore in Your Name ended up giving viewers a unifying element towards understanding how Mitsuha and Taki could transcend the laws of space and time to meet, but in Weathering with You, the inclusion of folklore merely creates a rudimentary mechanism to bolster Hodaka’s urgency in finding Hina after she vanishes. The sum of Weathering with You‘s plot appears to have been Makoto Shinkai’s effort to create a new story without venturing outside of the design choices that had made Your Name immensely successful, treading on very familiar territory. These are ultimately trifling complaints: while perhaps not the powerhouse experience that Your name might be, Weathering with You remains a highly enjoyable movie, standing of its own merits for the strength of its execution.

In every successive film, Makoto Shinkai manages to raise the bar higher for what sort of visuals are seen, and with weather at its core, Weathering with You is a visual spectacle surpassing any of his earlier films. Rain is rendered even more vividly than in Garden of Words, with the motion of individual raindrops being animated. Interiors are intricately depicted, cluttered with everyday items that convey a lived-in sense. Landscape shots and camera effects are more ambitious than before, making use of 3D rendering to present Tokyo in ways the previous films had not: the fireworks festival brought Weathering with You‘s Tokyo to life in a way that earlier films did not, even featuring real-time reflections of the fireworks on the skyscraper windows, and the dynamics of the vehicular chase similarly shows refinement in Shinkai’s craft. In short, Weathering with You represents a progression of the animation and artwork seen in Your Name, and Shinkai’s new story allows the film to portray a side of Tokyo that is lesser seen: the seedy and derelict side of Tokyo is shown, mirroring on how in Japan’s rapid growth and development, some areas were left behind, to be washed away by rain waters. There is a melancholy in seeing the abandoned building that houses the torii Hina found, and throughout Weathering with You, the use of moody, grey lighting suggests that Tokyo is not the destination that it appears to be on an ordinary day. However, when light breaks through the clouds and illuminates the world’s largest city in a wash of warm, golden light, the magic of Tokyo becomes more apparent. The shifting portrayal of Tokyo in Makoto Shinkai’s films show the city as a monolith of activity, a place of great contrasts, of excesses and decay, as well as of beauty and meaning, all of which lie in its people, rather than its buildings: having honed his craft in his previous films, Weathering with You represents further into insight into how Shinkai feels about Tokyo. When Tokyo is flooded by ceaseless rain, its citizens endure, and continue finding ways of making things work; Shinkai therefore indicates, through Weathering with You, that buildings can be rebuilt, and livelihoods restored so as long as people are together.

Screenshots and Commentary

  • Weathering with You opens with Hina finding the mysterious torii gate after noticing a beam of sun illuminating it while with her mother at the hospital. When she walks through the gate, she finds herself whisked into the skies above. Unlike my post for Your Name, I’ve decided to host my images in a typical fashion owing to storage constraints. However, the screenshots should still be quite sharp and capture all of the details in the movie nicely: this time around, I’ve got eighty screenshots (down from Your Name‘s one hundred even), curated from a total of three hundred and sixty, making this first and only proper collection of screenshots around on the internet.

  • Weathering with You begins formally with Hodaka on board a ferry bound for Tokyo. The film does not disclose much about his background, beyond the fact that he was dissatisfied with his old life to the point where he felt running away from home was his best bet. The bandages on his face, in conjunction with his unhappiness about his home, suggest that he suffered from physical abuse. However, Hodaka cannot help but marvel at the gathering storm while riding the ferry: a massive rainfall suddenly inundates him, and an unexpected downburst threatens to wash him overboard.

  • The storm disappears as quickly as it appeared, and Hodaka finds himself being saved by one Keisuke Suga. In gratitude, Hodaka treats Keisuke to lunch, and is coerced into buying Keisuke a beer, as well. Keisuke appears to be a bit of a shady character – his eyes lack the detail and dimensions that are typical to trustworthy characters, and so, viewers cannot help but be a little mistrusting of him when he is first introduced. Before we delve further into Weathering with You, it’s appropriate to explain the page quote: I normally reserve Survivorman quotes for Yuru Camp△, but owing to how Les Stroud describes the weather, I figured his remarks on weather are well-suited for opening a talk about a movie with a substantial weather motif.

  • After the ferry pulls into Tokyo harbour and docks, Keisuke and Hodaka part ways, but not before Keisuke leaves him with a business card. In this post, I’ve avoided recycling images that I used for my post about my plans to write aboutWeathering with You, drafted shortly after the film’s announcement: my expectations back then were to see how well the film utilised Hina’s powers and tie that in with an overarching theme. Beyond that, I had no other knowledge of the film, and when it released to Japanese theatres on July 19, 2019, I hadn’t even made any remarks about missing out on things.

  • Because Hodaka was able to survive for a short while before his funds dwindled, it stands to reason that he comes from a moderately wealthy background, enough for him to have withdrawn enough of his personal funds to buy time and attempt to find a job. Hodaka’s journey takes him to a seedier side of Tokyo that Shinkai had hitherto not explored in his movies, and in this side of Tokyo, questionable nightclubs and gambling parlours are portrayed. It reminds me of the side of Tokyo that Natasha Romanoff found Clint Barton in during the events of The Avengers: Endgame, although unlike Barton, Hodaka is no fighter, and can only escape from confrontations.

  • After taking refuge from the rain in front of one such night club, the establishment’s owner notices Hodaka and roughs him up. While beautifully rendered from a distance, close-up, Shinkai also chooses to portray a grittier, rougher side of Tokyo in Weathering with You to show the idea of resilience, a recurring theme in this movie. Hodaka ends up being knocked onto the streets along side a recycling container, and in it, he finds a Makarov PM. Feeling it to be a toy, he takes it with him and winds up at a McDonald’s, but having run his funds dry, can only order a drink.

  • At the McDonald’s, one of the staff takes pity on Hodaka and makes him a Big Mac on the house. Hodaka describes it as the best dinner he had since arriving in Tokyo, and while the moment conveys a combination of despair and hopelessness, it also foreshadows subsequent events: the staff is none other than Hina Amano, and upon their fateful meeting, he feels the warmth in her actions, which extends into the burger itself. In Five Centimetres per Second, Makoto Shinkai had used a stand-in for McDonald’s, but of late, having seen international recognition, Shinkai’s been able to use some real world brands openly in Weathering with You. Details paid to the Big Mac and its box are remarkable, and the box looks identical to the ones at the local McDonald’s.

  • I’m certain that, with a bit of patience and generous use of Wander in the Oculus Quest, I’d be able to find all of the locations shown in Weathering with You – for Your Name, I ended up using a bit of photogrammetry techniques to locate Taki’s apartment in an exercise that proved immensely enjoyable. The locations of Weathering with You are a bit more inconspicuous, and on first glance, would be trickier to find. However, knowing that Shinkai incorporates great amounts of details into his film, using the address on Keisuke’s business card and the Google Maps app on Hodaka’s phone means that one could find Keisuke’s home/office reasonably effortlessly.

  • Of course, doing so is not advised, as it is impolite to hassle a private residence. Regaining his energy and spirits from the Big Mac and Hina’s kindness, Hodaka decides to follow his lead and visit Keisuke. Ever since he arrived in Tokyo, it’s been raining nonstop: much as how previous films used weather as a metaphor for feelings within the protagonists’ hearts, Weathering with You‘s use of rain shows that at this point, Hodaka is very much in a melancholy and despairing. However, a simple gesture from Hina is enough to send Hodaka down a different path, and he decides to take a look at Keisuke’s offer.

  • Upon arriving at the address on Keisuke’s business card and entering, he finds himself face to face to a sleeping woman in her twenties. Being a teen, Hodaka cannot help but stare at her chest as she sleeps, and when she awakens to find him there, the woman’s first act is to tease Hodaka about it. It’s curious to see Shinkai incorporate more of these aspects into his movies (Your Name had Taki feeling up Mitsuha when he’d inhabited her body). Shinkai’s earliest films had female protagonists as pure as driven snow, perfect abstractions of what romance and love entailed, but over the years, females in his works became more human, with their own flaws and unique features.

  • It turns out that the sleeping woman is Natsumi, and while she’s not the female lead of Weathering with You, she’s certainly not one-dimensional, as this screenshot can attest. After Natsumi introduces herself, Keisuke finally arrives and lays out the terms of the job he has in mind for Hodaka. While Hodaka is initially reluctant, Keisuke notes that Hodaka’s job will also cover lodging and meals, prompting him to reconsider. As it turns out, the job Keisuke has in mind is akin to that of an intern: his job description entails organising meetings, proofreading, writing and helping out with housework.

  • Interior clutter has always been a major feature in Makoto Shinkai’s movies, giving a very lived-in sense: in Weathering with You, details in Keisuke’s home/office, from scattered papers and unwashed cups, give insight to Keisuke’s life. Looking at the placement and organisation of everyday objects in a scene brings interiors to life, and in most anime, this detail is eschewed for ease of animation: looking after that many assets would be immensely difficult, and it speaks the technical skill of Comix Wave Films that they are able to render this. The only other studios that place such effort into interiors are Studio Ghibli, Kyoto Animation and P.A. Works.

  • Hodaka’s first test is to accompany Natsumi to speak with a fortune teller, who presents the story of so-called “Sunshine Girls”, alongside “Rain Girls” whose presence can impact the weather, and this early into Weathering with You, the fortune teller already gives viewers one of the film’s main themes: if you mess with nature, it tends to mess back. My main goal in consuming any work of fiction is to see what I can learn from it (and by extension, the author’s intentions), so if I walk away from something with a quantum of an idea of what the author wanted to convey, I end up satisfied.

  • Once Hodaka begins settling into his new routine, Radwimps’ Kaze-tachi no Koe (“Voices of the Wind”) begins playing. Repraising their role from Your Name as Weathering with You‘s composers, Radwimps delivers an aural experience that elicits memories of Your Name. Voices of the Wind is an upbeat piece whose rhythm mirrors the newfound routine in Hodaka’s life, and their remaining vocal pieces are well-adjusted. The instrumental pieces of Weathering with You create a sense of melancholy and longing that fits well with Shinkai’s themes of separation and distance, as well as the supernatural feeling that arises at critical moments in the story.

  • Besides McDonald’s, Tenki no Ko also showcases Apple products in prominence: Hodaka is seen using an iPhone 8 and a 2017 MacBook Pro, and Natsumi runs an iPad. That Weathering with You is able to use real-world products is a sign of how far Makoto Shinkai has come in terms of recognition, for large companies like Yahoo!, Apple and McDonald’s to allow their products to be rendered in such detail. Since Your Name, Apple has reached iOS 13 from iOS 10, and their Flat UI has been around since 2013’s iOS 7. Since then, iOS has not changed too much in appearance, and I remark that I’m very fond of the Flat UI, which replaces the Skeuomorphism aesthetic that iOS 6 and earlier used.

  • Weathering with You‘s use of supernatural differs from that of Your Name‘s in that whereas the latter employed it purely as a study of regional folklore, Weathering with You mixes it with urban legends that high school girls are familiar with. Old and new collide in Weathering with You in a way that Shinkai’s previous films do not depict, and this hints at Shinkai’s thoughts on advancing technologies and beliefs: the interweaving of old and new suggest in Weathering with You indicates that while Shinkai respects the old ways and uses them when appropriate, he also believes that if the new offers a tangible benefit to something, then it should be tested and utilised, as well.

  • Aside from high school students attuned to rumours and urban legends, as well as practitioners of the occult, Natsumi and Hodaka also speak with meteorologists and experts. While some turn them away, seeing the supernatural as a waste of time, others eagerly speak with them, as they’ve also spotted the unusual phenomenon manifesting in Weathering with You: raindrops occasionally flop about and swim as fish do, and there have been several instances of large bodies of water taking the form of whales. Unfortunately, my understanding of the symbolism here is not terribly extensive, and I can’t offer more on what the cloud fish and whales mean beyond the suggestion that the clouds are supposed to represent a world that has not been extensively studied.

  • One subtle detail that I really enjoyed was watching Hodaka slowly become better as an article writer: Keisuke had been satisfied with his initial writing but counts him as a slow writer, and while he reviewers Hodaka’s work here, he critiques one of Hodaka’s passages before noting that Hodaka’s done well in another section. While seemingly minor, this moment shows that despite his gruff appearance and the occult focus of his publishing business, Keisuke is someone that Hodaka can look to as a mentor figure. For the audiences, this is reassuring, reminding viewers that Keisuke can be trusted.

  • While out one day, Hodaka runs into Hina again, who is trying to discuss terms of some job with two shady-looking characters. Without really thinking things through, he pulls Hina away and they run off, but the two catch up to Hodaka and begin kicking his face in. Hodaka ends up drawing the Makarov and fires it, scaring the two off, but also earning himself admonishment from Hina. The Makarov pistol is named after designer Nikolay Fyodorovich Makarov, who designed it to be a compact pistol with low recoil without compromising stopping power. It entered service in 1951, and anime fans will know it for being the gun that Shino “Sinon” Asada fears during Sword Art Online‘s Phantom Bullet arc. Owing to its Soviet origins and use by the Eastern Bloc, the weapon does seem to exude an aura of menace and well-chosen to be the antagonist’s firearm in anime.

  • Hodaka discards the gun and ends up having a proper conversation with Hina to know her better, after both have a chance to clear their heads. They head to the roof where the torii is, and Hina demonstrates her power to clear the skies. It turns out that this power is strictly for clearing the skies, and unlike The Elder Scrolls V: Skyrim‘s “Clear Skies” shout, cannot make aurora borealis manifest. In Weathering with You, the first bit of sun is a magic moment for Hodaka. Most promotional images for the film feature the clearing skies by the torii on the rooftop and the cloud-top islands, and while Weathering with You does not have an iconic element as did Your Name in terms of imagery, the imagery associated with Weathering with You remains distinct.

  • While the phenomenon of a Sunshine Girl had been relegated to the realm of myth and rumour, Hodaka’s encounter with Hina changes his world permanently. Here on the rooftops, Hina and Hodaka are removed from the hustle and bustle of Tokyo, as well as the world’s worries. The tranquility and peace that Hodaka shares with Hina here marks a turning point in Weathering with You, being the first time that sunshine is properly seen in the movie, and with it, the first time that Hodaka sees a reason for being here in Tokyo.

  • Reports of animals manifesting in the water begin making their way across social media platforms like Instagram, and Hodaka’s mind is on capitalising the excitement to publish a few more articles that could draw in readers, and with them, the coin. Natsumi’s exact relationship to Keisuke is never explored early on, and this leaves a bit of a mystery to her from Hodaka’s perspective; he is shocked to learn that she’s more of a part-timer with Keisuke’s company, and prior to heading out for a day’s worth of interviews, she looks through some of the phenomenon with Hodaka, but ends up disappointed that Hodaka’s thinking more about the increased profits from increased readership.

  • Keisuke, meanwhile, has other troubles of his own; after his wife died, their daughter went to live with her grandparents, and Keisuke finds it difficult to spend time with her daughter. At Minori Cafe in Ginza’s Mitsukoshi Department Store, he meets with his mother-in-law, who is adamant about keeping Keisuke from seeing his daughter owing to the fact that he smokes and the poor weather makes it difficult to be outside, which would alleviate her asthma. Keisuke’s mother-in-law recalls a time when the weather was more agreeable and laments that contemporary children are less inclined to explore the outdoors owing to extremities of weather, although the reality is that kids of this age are glued to their tablets and phones.

  • When I was in Japan three years earlier, I passed by the famous Wako Department Store in Ginza: I best remember its distinct Seiko Watch Face from the movie King Kong vs. Godzilla. After spending the morning at the Imperial gardens and a shrine, I’d arrived in Ginza for a delicious beef nabe lunch at a restaurant whose location I can’t remember, and subsequently browsed around the shops in the area before heading off for the banks of the Sumida River to check out the Tokyo Skytree and Sugamo Jizodori Shopping Street a ways over. The day ended at Heritage Resort in Saitama, where I sat down to a magnificent dinner of Kobe beef and sashimi before soaking at the hotel’s onsen.

  • There is a lot of exploration in Tokyo, and while I’d only spent a day there during my trip, I appreciate that one could spend a few months there and still not see everything worth seeing (although I note I’ve been in Calgary since time immemorial and there are things back home I don’t know about). Back in Weathering with You, upon seeing Hina’s power to clear the skies with his own eyes, Hodaka begins to develop an idea – aside from a few minutes of good weather, Weathering with You has been very rainy insofar, and Hodaka begins to feel that the mood of people is invariably tied to the weather, with rain signifying depression, melancholy and lack of energy. Sunshine occupies the opposite end of the spectrum, filling people with motivation, determination and joy. He contemplates the idea of using Hina’s powers to deliver hope for cash, and decides to float the idea to Hina.

  • Hina invites Hodaka over, who suddenly realises that this is the first time he’s ever been over to a girl’s house on his own. Hodaka hesitates briefly, but Hina has no qualms about having him over. As it turns out, Hina’s been living with her younger brother, Nagi. Ever since their mother passed away about a year ago, Hina’s been working to support the two, and this was roughly when Hina discovered the torii on top of the abandoned building. Hina’s situation is a tragic one, and despite the challenges she’s faced, she does her best to be optimistic about things, even going to extraordinary lengths like working at a night club despite being under-aged in order to make ends meet.

  • Because of her situation, Hina’s developed a rather unusual sense of cooking, incorporating instant ramen and potato chips into her recipe for fried rice. I am strongly reminded of a similar moment in The Garden of Words when Yukari cooks for Takai after the two retreat to her apartment during a sudden downpour. Both The Garden of Words and Weathering with You feature rain at its centrepiece, and while Hodoka and Takai have different thoughts on the rain, in both movies, the rain plays an instrumental role in bringing people together. When I first watched The Garden of Words, a major flood shut down my area, and now, watching a similar scene in Weathering with You, I am reminded of working from home some seven years ago in a similar fashion.

  • While Hina and Hodaka share a lunch of fried rice and a fried chicken salad, I look back on some meals that’ve put a smile on my face. With restaurants slowly beginning to re-open, I’ve been able to enjoy a combination of restaurant food and home cooking: over the past weekend, I’ve had herb-and-spice fried chicken and fries with southern-style gravy and a delicious sirloin burger topped with onion crisps with a side of crinkle-cut fries. Looking forwards to a good meal is a massive morale booster, and unlike seven years ago, where the Great Flood caused me to fall into a melancholy, I’ve been more proactive in keeping my spirits up. Being able to enjoy a meal is high on my list of things to do during times like these, and the warmth and normalcy of such moments in Makoto Shinkai’s films suggests that he believe something similar.

  • After a day’s effort, Hodaka and Hina spin up a website that allows visitors to make requests for good weather. When Nagi arrives home, he’s unimpressed with Hodaka’s presence, and Hodaka recognises Nagi as the elementary school student who seemed to be rather popular with the ladies. I’m guessing that Hodaka and Hina are using a cloud service to run their website and are rocking a noSQL database to hold their requests, which would be simple entities containing a date, requestor name, email and description of the task, easily retrieved by date of request. Then it’s up to Hodaka and Hina to travel to the customer and fulfil their request for good weather. Nagi is initially skeptical, and even more so when he’s made to wear a teru teru bozū costume.

  • Hina, Hodaka and Nagi’s first assignment comes at a flea market, whose organisers worry that attendance and business will be poor on account of the rain dissuading customers from visiting. Initially, the organisers are skeptical that anything could happen: being able to control the weather is something that only exists in the realm of fiction, involving powerful technologies like those the Forerunners employed on Halo, or through extraordinary means like the Infinity Stones. However, when Hina wishes for it, a break appears in the clouds, bathing the land with sunlight. The flee market’s organisers are absolutely thrilled, and Nagi realises that Hodaka and Hina are onto something, no longer reluctant to head out as a teru teru bozū.

  • As the clouds give way to blue sky, the music swells to a crescendo of joy and optimism. While I had been a little skeptical of Radwimps upon hearing their role as the composers for Your Name‘s soundtrack, I ate my words after seeing the movie, and by Weathering with You, I was thoroughly impressed with their musical performance. The music of Weathering with You is memorable in its own right, creating a different aural aesthetic than that of Your Name‘s; Your Name‘s music was deliberately hesitant in places to mirror the confusion in Mitsuha and Taki surrounding both their scenario and their feelings for one another, but in Weathering with You, the sound is bolder and more purposeful, showing Hodaka and Hina both as being strong-willed.

  • After their success at the flea market, word begins to spread: Hina and Hodaka find themselves busy, fulfilling requests from those who’ve placed them on their website. Tōko Miura’s “Festival” accompanies the montage depicting the various venues Hina and Hodaka are asked to bring sunshine to: this highly upbeat, energetic song offers a break from Radwimps’ own performances, creating a refreshing break in the movie that creates an aural representation of what sunshine sounds like. The spirit and pacing in “Festival” sounds like a song that speaks to the halcyon days of high school, a time for youth to partake in exploration and discovery without the obligations of adulthood.

  • In Weathering with You, Hodaka provides a narration over the montage: as he, Hina and Nagi brighten up weddings, Comiket, and school activities with Hina’s power, he contemplates how happy the sun makes people, washing the land in light and warmth that signifies hope and possibility. Hodaka is at his happiest up to this point in the film: having a purpose to work for and being with Hina, who can be seen as a personification of sunlight, Hodaka believes that sunny weather even helps people to fall in love with those around them more quickly, foreshadowing his own feelings for Hina.

  • Hodaka’s monologue captures the general feeling people have regarding good weather: love for good weather is universal, and there’s a scientific reason as to why this is the case. It turns out that exposure to sunshine triggers the production of serotonin in the brain, as well as catalysing the production of vitamin D. Serotonin is a chemical that is involved in a range of processes and contributes to regulation of sleep, digestion and mood, while Vitamin D is involved in calcium absorption, cell proliferation and regulating the immune response. In helping the body to produce these chemicals, sunlight is a critical part of well-being – there is a physiological piece in why sunshine and well-being are correlated.

  • For me, my mood fouls the quickest at the sight of an overcast sky or snowfall, but rainfall doesn’t bother me at all. There’s a scientific reason for this, as well: the sound of rainfall is a consistent sound that helps the mind to relax, stimulating enough of the auditory cortex to promote some activity without excessive stimulation that we perceive as noise. While research has found that extensive periods of bad or good weather cannot be positively correlated with changes in mood, the fact is that weather patterns do have a tangible impact on people; these might be subtle on their own, but can add up to create a noticeable impact on one’s health and well-being.

  • Eventually, Hina and Hodaka become renowned enough to be called in for their biggest assignment yet: ceaseless rainfall threatens the Jingu-Gaien Fireworks Festival, one of the biggest fireworks events in central Tokyo. Centred around the Yoyogi area, the festival has its origins in the 1980s, and each year in August, up to twelve thousand individual fireworks are used during the event. Most shows begin at 7:30 PM: unlike somewhere like Calgary, where the high latitude means that the skies don’t darken until 11:00 PM local time, Tokyo’s got a much more consistent day/night cycle, allowing for earlier performances.

  • Hodaka appears as a VIP, alongside the event’s organisers: they briefly catch a glimpse of Hina looking rather sharp in a yukata before heading off to the rooftops of the Roppongi Hills tower, a mixed-use high-rise with a maximum height of 238 metres that was built in 2003. It’s a tense moment, as the event’s organisers wait in anticipation of Hina using her magic to clear the skies. Hina begins her prayer, and moments later, the clouds dissipate, bathing the land in an orange glow from the day’s last light.

  • This moment was a truly magical one, and the music swells into a chorus as the details of Tokyo are thrown into sharp relief. From the northwest corner of Roppongi Hills, the skyscrapers of Shinjuku, some 4.5 kilometres away, can be seen, and the Meiji Jingu Gaien park where the fireworks event is hosted, is somewhere below on the right hand side of the image. Makoto Shinkai’s portrayals of Tokyo have always been spectacular, but the sunset in Weathering with You really hits home as to just how far the techniques have improved.

  • I had originally been planning on doing my first hike of the year this past weekend. This excursion would’ve likely entailed of a simpler trail that cuts through a beautiful canyon, followed by lunch at my favourite poutine restaurant on this side of the world. With the current world health crisis contained for now, it would have been tempting to go do a day trip to the mountains, but in the interest of safety, I’ve elected to shelve such an excursion until a later date, and instead, with the recent bit of spring weather we’ve finally had, I decided to walk the local parks instead. While it may not be a mountain trail, the parks in my area are beautiful and most certainly enjoyable to walk in: I was lucky enough to see cherry trees in full blossom.

  • Short of visiting Japan and watching the Jingu-Gaien Fireworks Festival in person, it is no joke when I say that watching Weathering with You‘s presentation of it is the next best thing. The movie makes use of CGI to present a flyover of the area while the fireworks show is on, sending viewers through the fireworks itself, and it is here that the observant viewer will notice real-time reflections of the fireworks appearing on the windows of the buildings below. The entire scene, from the buildings to the fireworks, is rendered in 3D, and this is probably the most impressive application of CG in any anime movie to date.

  • The festival’s attendees are thrilled to be enjoying the fireworks on a clear night, with spectators watching at the Meiji-Jingu park, and Nagi hanging out with one of his lady friends at a festival. Up on Roppongi’s rooftops, Hina and Hodaka share a private moment together, marveling the fireworks together. Hina finally feels that she’s found a purpose to life beyond just surviving, and it is here that Hodaka begins to realise he’s falling in love with Hina, driven both by the magical atmosphere conferred by the fireworks and Hina’s dazzling personality.

  • The Obon Festival brings Hina and Hodaka to the Tachibana family, who’s made a request: Fumi Tachibana, figures that sunnier weather will help her husband’s spirit to navigate back properly. Obon has been a Japanese custom for at least half a millennium, and is a means of honouring the spirits of the deceased: offerings are laid out for them, as they are said to return during the time of the festival. Taki makes a cameo appearance here, watching as Hina and Hodaka help with rites. Cameos only began with Your Name, which featured the return of Yukari Yukino from The Garden of Words, and it stands to reason that Makoto Shinkai’s next film will likely feature Hina and Hodaka in some way.

  • Whereas folklore and regional beliefs feel more tangential to Weathering with You, they were a central part of Your Name: Shinkai crafted an entire set of local rituals and myths for the film based on Japanese folklore to bring Mitsuha’s world to life and create credibility for the extraordinary experiences she shared with Taki. This ended up being a point of contention when one “Verso Sciolto” argued that one needed at least his level of understanding to properly enjoy every detail in Your Name. Verso Sciolto’s presence reached Anime News Network, MyAnimeList and even AnimeSuki, where he wrote pedantic, purple-prose filled paragraphs explaining why his interpretations of Your NameLiz and the Blue Bird and Chihayafuru were the only ones worth considering even though his interpretations all missed their mark entirely.

  • Verso Sciolto fancied himself a lecturer, but eventually ended up being banned from each and every anime forum of note, for being uncommonly persistent in pushing views of anime that were egregiously wrong. This is by no means a loss, and I admit that it is nice to be able to discuss Weathering with You without being told that my lack of background in Japanese literature and folklore leaves me ill-equipped to talk about the film. Back in Weathering with You, Keisuke and Natsumi visit an elderly man familiar with the myth of the Sunshine Maidens. He explains that their power comes at a cost, and that eventually, must be sacrificed to the gods to maintain the natural order of things.

  • It turns out that the police are interested in Hodaka’s whereabouts after he illegally discharged the Makarov, and two officers end up catching up to the fellow that had come into contact with Hodaka. He initially attempts to escape, under the impression they’re here to bust him for attempting to hire Hina, but it turns out they’re looking for information. Firearms in Japan are tightly regulated: aside from air rifles and shotguns, firearms are strictly prohibited in Japan. A law passed in 1958 simply states that no citizen may possess firearms or swords, and individuals who decide to have a shotgun or air rifle consent to random police checks, as well as undergo a series of stringent exams and inspections. As such, Hodaka’s possession of a Makarov is a crime, and it is unsurprising that the police are so intent on finding him before anything serious happens.

  • With Hina’s birthday coming up, Hodaka decides to get her something, but struggles to find a proper answer. Hodaka is frequently seen posting to Yahoo! Answers for suggestions, and while other services have largely displaced Yahoo!, in Japan, they still remain quite popular. Eventually, he decides to ask Nagi, who replies that, since Hina’s been doing her best to look after him, he’d be happy to have Hina live more like an ordinary teenage girl would; a ring seems suitable for this, Nagi concludes, having deduced that Hodaka’s in love with Hina. Despite his age, Nagi is very well-versed in what the ladies like, prompting Hodaka to refer to him as senpai.

  • Hodaka ends up checking out a Lumine Store and picks up a ring for Hina from MocA. These department stores are located near major train stations in Japan, capitalising on the large crowd volumes of these transport hubs to provide commuters and visitors with shopping and dining options. The ring costs 3400 Yen, about 43 CAD at the time of writing, and Hodaka wonders if it will be something Hina likes: the clerk replies that his feelings will reach her, as it is evident in how dedicated he is. Here, Miki Okudera, Taki’s senior from his old part-time job, can be seen in the background.

  • Weathering with You is filled with cameo appearances, and the clerk is none other than Your Name‘s very own Mitsuha Miyamizu. It is great to see Mitsuha doing well: she’s now working in Tokyo and, assuming that she’s the same Mitsuha of Your Name, finally able to live somewhere brimming with activity and excitement as she’d yearned for as a teen. Wearing a warm smile, she reassures that Hodaka’s feelings will reach his recipients, and she suggests that she would be very happy if someone had spent that effort for her. Besides Taki, Mitsuha and Miki, Tesshi and Sayaka also make an appearance in Weathering with You, along with an older Yotsuha and some of her classmates.

  • Hina and Hodaka have one final assignment: Keisuke’s requested their services to create a beautiful day during which he can spend time with his daughter: Keisuke’s mother-in-law would only permit him to spend time with his daughter if it’s outdoors, but owing to the frequent rain, this has not been possible until now. Even though it’s only for an afternoon, this means the world to Keisuke. Nagi gets along with Keisuke’s daughter well, and Keisuke is content in watching this peaceful scene unfold at Shiba Park: Zojoji Temple is visible here a ways past the field where Nagi and Keisuke’s daughter are hanging out.

  • Both Hina and Natsumi wear identical looks of disgust on their faces when word gets out that Hodaka had assumed Keisuke and Natsumi were a couple, when they are in fact, uncle and niece. This scene of normalcy underlies what each of Keisuke, Hina and Hodaka have been longing for – spending time with people they care about. While Makoto Shinkai has explored themes of romantic love in his movies, Weathering with You also begins to touch upon family, as well, showing how the connection between families pushes people towards actions, both great and dubious, to preserve and defend what is important to them.

  • I’ve chosen to render Tenki no Ko with its official title, Weathering with You, simply for the ease of searching. The English translation of Tenki no Ko is often given as “Child of the weather”, which I would only give partial credit for: while it is true that Japanese does not always give an indicator of singular or plural, and the child in Weathering with You is Hina owing to her connection with the skies, I argue that “Children of the Weather” is more appropriate for the film since it’s about children in plural (Hodaka, as well as Hina). The English title is not a 1:1 translation, but is a very clever play on words, addressing both the film’s weather motif and the idea that “weathering” can be interpreted as “making it together with” that speaks to the movie’s themes of resilience.

  • Hodaka decides to accompany Hina back, feeling that the time has come for him to give her the ring ahead of her birthday. Both she and Hodaka have feelings they wish to convey, but before they can speak, Hina seemingly vanishes after a gust of wind whips through the area; she’s light enough to be carried into the air now, and while she’s unharmed, it turns out that as a result of wielding her power, Hina’s given up much of her life force and begins losing her physical form.

  • In a flashback, Hina reveals that she developed the power to clear the skies with a prayer about a year ago. How this came to be is never specified, and viewers are meant to take this as a part of the supernatural piece of Weathering with You: in Makoto Shinkai’s movies involving the supernatural, the reason behind why something happens is always secondary to the consequences of a phenomenon to remind viewers that sometimes, how people handle adversity and the unknown matters more than what caused it to begin with.

  • At Hina’s place, the police come calling and ask if she’s come into contact with Hodaka. She denies knowing anything and the police leave; Hodaka prepares to head back over to Keisuke’s place, but it turns out the police have also spoken to him. Keisuke reveals that he intends to file for full custody of his daughter: like Tony Stark in Avengers: Endgame, family causes Keisuke to realise what’s important to him, and unfortunately for Hodaka, it means that Keisuke will distance himself from him now that it’s known Hodaka is wanted for unlawful possession of a firearm. In Endgame, family is what initially dissuades Stark from seriously investigating Scott Lang’s plan for a time heist.

  • With Keisuke firing him, Hodaka returns to Hina, who intends on running away and disappearing: she’s learnt that social services will be taking custody of Nagi, and unwilling to entertain the notion of being separated from her only family, the three decide to head off. This isn’t an easy task: the weather’s taken a turn for the worse, and the typhoon that’s passed into the area has now chilled the area sufficiently for it to start snowing, an unprecedented occurrence. From orbit, the size of the typhoon is apparent: it rivals 1979’s super-typhoon Tip, which is known for being the largest typhoon recorded (2220 kilomatres across) and having the lowest recorded pressure on Earth (87.0 kPA, against an average pressure of 101.3 kPA).

  • With police on the streets to keep order as the incoming typhoon prompts an evacuation order, Hodaka, Hina and Nagi run into trouble when officers suspect them of being runaways, and attempt to ask for their identification. One aspect of Hodaka’s character that I found curious was his tendency to try an escape every unfavourable situation he’s in: it speaks volumes about his own background and how his story in Weathering with You started with him running away from home.

  • When it looks like Hodaka’s options run out, Hina uses Force lightning a prayer to summon lightning that destroys a nearby truck, starting a fire that prompts the police to look after. In the chaos, Hodaka and the others escape. Lacking any identification, most hotels turn the trio away even though Hodaka has the cash to pay for the night: most hotels require that individuals provide proof of identification (e.g. a passport or operator’s license) before accepting a transaction. However, Hodaka eventually does manage to find a hotel that will allow them to stay for the night.

  • Concern gives way to relief, and after taking a bath, everyone sets about preparing a meal with the food from the in-room bar. After dinner, Hodaka and Nagi partake in some karaoke. With the bliss the three share together, Hodaka feels that as long as they have one another, they’ll somehow find a way to make things work. There’s a desperation in his inner monologue, praying with all of his resolve that things can work out; in his heart, Hodaka probably knows that things won’t last forever.

  • Once Nagi is asleep, the time has finally come for Hodaka to give Hina her birthday gift. By this point in Weathering with You, Hina’s become increasingly incorporeal, but her sense of humour remains: she gently teases Hodaka for staring at her, even as he dissolves into tears, worried that their time together will be cut short. Makoto Shinkai’s older films were well-known for presenting separation without resolution, mirroring how people part ways and never reunite owing to circumstances in their lives under ordinary conditions, creating a highly poignant outcome that left viewers wondering if his characters would find happiness.

  • The ring that Hodaka gifts to Hina can be seen as a promise ring, signifying his intent to commit and also to keep his word about keeping everyone together. However, the next morning, Hina has vanished, and moreover, the police have arrived to take custody of Nagi, as well as arrest Hodaka for possession of a weapon and illegally discharging a firearm. The storm has ceased entirely, and the entire landscape is covered in a washed-out light that seems unnatural.

  • Lighting plays a major role in Makoto Shinkai’s films, playing on universal emotions and feelings to convey a particular idea. The bright light washes out detail in the cityscape to create the sense that with Hina’s disappearance, Hodaka is stupefied and unable to think of anything else; his surroundings lose their colour in the process, and his world takes a further blow when he overhears that Hina had lied about her age, being in fact, younger than he is. After arriving at the police station, Hodaka manages to escape again before he can be interrogated. Unlawful as Hodaka’s actions are, one cannot help but admire his tenacity.

  • Natsumi comes soaring to the rescue on her moped, whisking Hodaka away before the police can catch up to him. The world takes on a renewed colour as Hodaka regains his determination to seek out Hina, and he believes that torii on the abandoned building must be a gateway into the heavens where Hina is held. Natsumi demonstrates an uncommon degree of skill in outmanoeuvring her pursuers, weaving between traffic and narrow spaces to throw off police cruisers.

  • Natsumi is plainly enjoying the thrill of the chase: she even remarks that she might be born to ride. In escaping the police station, Hodaka might be seen as running away again, but it is at this point in Weathering with You that things begin flipping around: while Hodaka is escaping the police, he’s also simultaneously trying to reach Hina and fulfil his word, a form of taking responsibility. The blurring of boundaries at the film’s climax shows that the gap between right and wrong is not always apparent, and it is the case that the world is not as black-and-white as we’d like it to be.

  • Natsumi’s ride comes to an end when she drives her moped into waist-deep water. Her Honda Cub ceases to work, with its main engine filled with water: it’s up to Hodaka to get to Hina. His heart tells him that she’s somewhere in the skies, and recalling her story about the torii being a portal of sorts, deduces that this is his destination. Shinkai’s especially fond of portraying the Honda Cub line of mopeds in his films owing to their reliability and track record: Takaki and Kanae both rode these mopeds in Five Centimeters per Second, and similarly, Katsuhiko Teshigawara uses one in Your Name. Unlike Yamaha’s Tricity, the Honda Cub is a venerable bike with a long history dating back to 1958, when it was first produced.

  • As Hodaka runs off towards the derelict building and its gateway to another world across the unused rail tracks, he draws the attention of both the crews working to bring Tokyo’s trains back online, as well as bemused spectators on the streets below. Trains figure prominently as symbols in Makoto Shinkai’s movies, being used as the means of connecting distant people together. Having Hodaka run on the inactive rail lines, then, is to signify that the limitations of a system notwithstanding, he intends to reach Hina at all costs.

  • A cumulonimbus is visible over the abandoned building: we’re now on the first day of June, and summer is a mere twenty-one days away, but during the weekend a few nights earlier, we had our first thunderstorm of the year: an smaller but still severe storm had passed just north of the city, and I watched as cloud-to-cloud lightning silently lit up the evening sky. Unbeknownst to me, some three hundred kilometres to the west was a band of thunderstorms that were moving eastward. By 3 AM, these storms reached my city and began pounding us with lightning and thunder. I was awakened by the thunder, glanced outside and decided to fall back asleep, recalling a time when I’d been younger and said thunderstorms would keep me up all night in excitement.

  • Upon arriving at the derelict building, Hodaka finds many of its floors have collapsed from the storm; reaching the torii is going to be a challenge, further complicated by Keisuke’s arrival. Keisuke implores Hodaka to take responsibility for his actions and turn himself in, failing to realise the reason why Hodaka is so determined to keep going is for Hina. Hodaka recovers the Makarov and points it at Keisuke: he discharges it into the air, and the police finally close in on the building, surrounding Hodaka. The Tokyo police are seen using the New Nambu M60, a revolver chambered for the .380 round that’s been in production since 1961 by Shin-Chuō Industries. When Keisuke realises that Hodaka’s love for Hina parallels that of his for his wife, Asuka Mamiya, he tackles the nearest officer, creating enough space for Hodaka to escape.

  • Hodaka reaches the rooftop torii and finds himself whisked to the upper edge of the troposphere: the average cumulonimbus reaches twelve kilometres up, flattening out at their upper extremities thanks to wind shear. The turbulent winds create a separation of charge, resulting in an electric field that is favourable for cloud-to-cloud lightning. Owing to the instability that creates them, thunderstorms typically result from these clouds, although in Weathering with You, the flattened cumulonimbus top resembles an island in the sky. Besides the rooftop torii, this unusual sight forms the bulk of the marketing materials for Weathering with You.

  • It is in the grassy tops of the cumulonimbus that Hodaka manages to find the sleeping Hina. He calls out to Hina, who awakens: as the currents up here increase, it becomes trickier to reach her. At the last second, Hina leaps into the air and takes a hold of Hodaka’s hand. The two are plunged into the interior of the cumulonimbus cloud, where the turbulence separates the two briefly. Here, Hodaka declares that he doesn’t care if the weather’s foul; a world without Hina is meaningless to him. It’s a touching gesture, and when the two fall from the lower reaches of the cumulonimbus cloud, Hodaka manages to grab onto Hina once more.

  • Shortly after the BD for Weathering with You released, Makoto Shinkai posted a Tweet comparing the theatrical version to the BD version, and it turns out there’s an error in the former: the low-level clouds and their shadows are completely absent. Shinkai remarked that this would make the theatrical cut more “valuable”, unique: the difference doesn’t negatively affect those who saw the theatre version in any way, and reminds me of a similar situation where the home release of Gundam 00: Awakening of the Trailblazer made some changes to the scenes, most noticeably, how the 00 Raiser launches en route towards intercepting a supposedly destroyed object that’s reappeared.

  • Hodaka wishes that Hina will now begin to live for herself; having spent so much of her life living for others’ happiness, Hina’s neglected to consider what she wants for herself. Hodaka acts as the agent of change here, prompting Hina to stay. The two plummet to the surface together, hand-in-hand, and moments later, find themselves lying at the foot of the torii still holding hands. The sunny weather has disappeared, replaced by a torrential rain.

  • It suddenly strikes me that Makoto Shinkai’s novelisation of Weathering with You is probably a valuable companion to the film, as it would be able to explore the inner thoughts that the characters have to a greater extent than in the movie itself. I found this to be true for Five Centimetres per Second, where the companion side-stories offered a considerable amount of insight into what Takaki had been feeling, and provided a decisive answer for the decade-old question of whether or not Takaki found happiness (he does). Similarly, Your Name‘s side story provides great detail into explaining the body-switching phenomenon from Taki’s perspective and also helps to flesh out the Miyamizu family’s history, making Toshiki a more sympathetic character than he had appeared in the film. I’ve not read Weathering with You‘s novelisation yet, but I imagine that it would help to clear out the handful of questions that I have exiting Weathering with You.

  • After his arrest, Hodaka is put on probation and sent back home to Kozushima, a small island some 172 kilometres from Tokyo. Here, he graduates from high school. Two of his classmates are curious to know what happened, and Hodaka initially misinterprets this as a kokuhaku. In the aftermath, Hodaka ends up returning to Tokyo, finding the city flooded from three straight years of non-stop rain. Its impacts on Tokyo are dramatic, and writers with a far broader audience than myself have asserted that Weathering with You‘s central theme lies in the topic of climate change, how the film is a call to action and a grim warning to what awaits humanity if we should continue down our current path. However, in Fujinkōron’s interview with Makoto Shinkai, Shinkai states that:

People say that humans are destroying nature for the sake of their own conveniences, and I agree with that. And yet, I’m the kind of person who doesn’t hesitate to turn on the air conditioning in my room when it’s hot. Climate change is a large-scale phenomenon with an unimaginable scope, but there’s not much a person can do about it on an individual level. Even so, my actions as a single person have a definite effect on the environment. It may feel like something that’s out of your realm of responsibility, but it absolutely isn’t. I made the film while thinking about how to deal with that problem through the framework of entertainment.

  • While weather patterns to the tune of what’s seen in Weathering with You seem a little outlandish, the fact is that the world has been trending towards greater extremities of late, and given the delicate balance of many ecosystems, shifting climate patterns will have massive knock-on effects around the globe. With this in mind, it is erroneous to declare that Weathering with You is an Aesop on climate change, or was intended to be a political statement. The persistent belief that all art is intrinsically political is a flawed belief; in the case of Weathering with You, imposing this viewpoints onto the movie is to be disingenuous towards Shinkai’s intentions for the film to speak of more human themes; even against adversity, people are resilient and will find ways to adapt and improve their situation. Just as Hina and Hodaka had done against the unforgiving backdrop of Tokyo, Tokyo’s citizens find ways to survive even as rain hammers the flood-beleaguered city.

  • Writing the post for Weathering with You was not an easy task: besides coming late to a field saturated with reviews having a distinct political slant, there were also the assertions, at the usual places, that the film’s direction and execution should be considered a “let down” when compared to Your Name. I counter-argue that Weathering with You has its own merits in creating a compelling story of responsibility and resilience, two themes that I’ve noticed are absent from all discussion. The themes in Weathering with You are rooted in optimism, that the belief humanity can adapt, improve and thrive, and speak positively of Shinkai’s world-view – he indicates through the film that people can learn to take responsibility for their actions at the individual level, and at a society level, people will find ways to survive.

  • I’ve long felt the contemporary attitudes towards climate change to be misguided, being motivated by politics and appearances rather than legitimate improvement for all of humanity: society’s propensity to divert funding and media coverage to activists, from researchers and experts who are developing greener technologies and systems, speaks volumes to the current society’s lack of sensibility and adversity towards hard work. It takes genuine effort and passion to learn about how complex systems function and then cultivate the expertise needed for synthesising novel solutions, but it takes no skill to make angry speeches and rally people to support extreme, but ineffectual actions with potentially devastating consequences.

  • While politicians waste taxpayer money towards propping up activist figures over supporting legitimate experts and professionals, I’ll continue to pay no mind to the activists and do my own part in keeping the planet healthier. Doing things like walking and using mass transit, recycling and composting, buying less stuff, turning the lights off in unoccupied rooms and other actions that might be small, but within my ability to carry out – these small actions are how I commit to ecological responsibility, and I count them as being considerably more valuable than telling others how they ought to live their lives.

  • In having Hodaka return to Tokyo and doing his best to make things right, Weathering with You demonstrates that the older Hodaka has come to understand what taking responsibility for his actions means. This is an overarching theme in Weathering with You that, while only visible once Hodaka speaks with Keisuke, is one that nonetheless is an important message to walk away with. These messages are conveniently skated over by those who purport to support ecological responsibility, but whose words are ultimately empty, and whose actions more detrimental to the world than those they seek to lecture.

  • When Hodaka encounters Hina, she’s seen making a prayer for fair weather. Hodaka calls out to her, and the sun appears. Thrilled, Hina warmly embraces Hodaka, and he promises that from now on, things are going to be okay. Indeed, Hodaka ends up entering post-secondary and subsequently takes a new job at Keisuke’s company. With the maturity and stability of someone who’s clearly learned from his experiences, audiences can conclude that Hodaka is able to keep his word to Hina, and that their happy ending is a deserved one. This post and its twelve thousand two hundred and fifty-four words is now very nearly in the books, kicking June off in style, but I admit that this much writing in the past while has been a bit wearing. I would like to take the first bit of June to unwind and take it easy.

  • Overall, Weathering with You succeeds in capturing the magic that is Makoto Shinkai, presenting a captivating story of resilience and determination that concludes decisively. While Weathering with You can come across as a bit busy in some areas, the movie ultimately succeeds in telling a cohesive and compelling coming-of-age story, accelerated by the presence of the supernatural. As such, Weathering with You earns an A (4.0 of 4.0, or 9 of 10): whatever flaws there are in the film are overshadowed by characters with an engaging story and Makoto Shinkai’s continued commitment to technical excellence within the film’s visuals and aural components. Like Your NameWeathering with You is a film I hope that all of my readers will have the chance to check out for themselves.

Whole-movie reflection and closing remarks

On the whole, Weathering with You is a solid film, a fine addition to Makoto Shinkai’s filmography that combines his unique sense of aesthetics with a warm (if somewhat busy) story. While Weathering with You will continue to exist in the shadows of its predecessor, the film also has enough unique elements to indicate that Shinkai’s continuing to push the boundaries for excellence in animation. Viewers will find the film will to be tread upon well-worn paths that Your Name had trail-blazed, from the journey Hodaka and Hina take, to design choices like placement of music, but in spite of this, Weathering with You still hits all of its high points to create an immersive, engaging experience during its run. With this in mind, there is a limit to how well a reiteration of familiar plot points and story mechanics will be received, and so, in the future, Makoto Shinkai will need to focus on his own visions for his work: Weathering with You is a technically superb film that managed to keep things engaging, but revisiting the same themes in a future film could prove wearing on viewers. Besides exploring different themes, one other aspect that would yield a memorable movie is to keep the narrative consistently focused on one main goal; Your Name and The Garden of Words both excelled in this area, making use of a very straightforward story to drive a considerable amount of character development. By comparison, Weathering with You was busier, and left a few plot points unresolved; these elements were actually not strictly necessary to the story and could’ve been removed without negatively impacting the themes or progression in the movie. A back-to-the-basics approach in Shinkai’s next film would therefore be especially welcome: Shinkai has always shown that he is able to do a great deal using very little as the starting point, and this is where the magic of his movies lie. For the time being, however, Weathering with You remains a film worth watching for its unparalleled visuals, another perspective on the sense that human emotions are comparable to supernatural forces for the miracles and tragedies they create, and features excellent music from Radwimps: while perhaps not appealing to as broad of a viewer-base as Your Name, folks looking for a proper Makoto Shinkai experience in Weathering with You will not be left disappointed.

10 responses to “Tenki no Ko (Weathering With You): A Review and Reflection on Makoto Shinkai’s 2019 Film

  1. Fred (Au Natural) June 1, 2020 at 15:23

    Aha! Another Les Stroud fan…

    Shinkai is godlike when it comes to depicting rain and weather and Tokyo.

    The Garden of Words is still my favorite Shinkai work tho. There are scenes in it with Yukino that exceed godlike.

    Liked by 1 person

    • infinitezenith June 1, 2020 at 18:23

      Yep! I’ve been a massive fan of Les Stroud, ever since seeing him do survival in the Georgia Swamps episode. His techniques are practically minded and he prefers pragmatic, proactive survival over anything flashy, which I respect greatly 🙂

      The weather effects and visuals of Weathering with You are top-tier, this along made the movie a visual treat to watch, and I ended up watching it twice to write this post: once to just take in the visuals, and the other to pick out themes.

      On The Garden of Words, I believe that is my top Makoto Shinkai film because it struck a balance between the highly wistful and poignant style his older movies took on themes of separation, but left enough of an open ending to make it clear that Takai still had the initiative without handing audiences the outcome outright. Your Name for me is a close second because its ending, was satisfying and a decisive finish despite being fuelled by the supernatural.

      Liked by 1 person

  2. Grant Matsuoka June 2, 2020 at 10:59

    Ko in Japanese can also be interpreted as girl. A more fitting translation of the title.

    When the detective visits Kiesuke at his office, there is a shot of a note that Asuka writes to tell him (papa is an endearment term for your husband) that she is going shopping. I suspect that it was written the day that she had her accident and died. That’s why it was saved.

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    • infinitezenith June 2, 2020 at 18:15

      Asuka’s letter to Keisuke is a very a nice touch and shows the level of committement that Shinkai takes towards details; small things like these add a considerable depth to the movie, and it reminds me of how Takaki’s parents would leave him messages on the fridge using sticky notes in Five Centimetres per Second, which indicated that while they weren’t around often, they still loved him very much. Thanks for sharing 🙂

      As for the translation of Tenki no Ko, while it is true that 子 can be interpreted as a girl, that would render the translation of 天気の子 as “The Weather Girl”. This is technically correct, but it would also hold the implication that Weathering with You would be more about Hina than Hodaka. This is why I feel the literal translation as “Children of the Weather” is appropriate, since it refers to how the weather impacts both Hodaka and Hina!

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  3. Anonymous June 10, 2020 at 10:32

    I wanted to post earlier, but I had trouble getting my thoughts in order. Let me just say this first:

    It was cute and adorable….and fun.

    When I first heard of the film coming out, I thought that it was rather soon compared to Your Name. Then again, I didn’t really have a good idea of how long movies tend to take, so what do I know. Nevertheless, despite what I thought was a short time, I was a little afraid that Tenki no Ko would be compared to Your Name, so much that it wouldn’t be able to stand out on its own. I’ll admit though, thanks to Your Name, I had some strong to high expectations for this. I did my best to avoid spoilers to get a genuine feeling for it as I watched it, and thanks to that, I really enjoyed my time watching it. Some aspects of the film storywise felt out of place, like how Hodaka found a gun and how there was no exact backstory as to exactly why he ran away from home (also, not to mention how the first thing that came to his mind was that Natsuki was a mistress – what kind of place does he think Tokyo is?). Then again, if I focused too much on that, I’d never be able to enjoy the film as much as I would have, so it’s easy to give them a pass.

    Your perspective of the film was really interesting. Whereas I really was drawn by the character relationships, I thought your focus on responsibility for actions was an interesting one. I liked how you focused on Hodaka’s struggles with responsibility as he grows throughout the film. That was something that I didn’t really think about until after reading reviews of the film. In that sense, possibly stemming from another review or the novel, Keisuke, Hodaka, and Natsuki are all kind of similar in a sense. If Hodaka starts out as a young kid running away from responsibility, perhaps Natsuki is similar to Hodaka. She’s college age, and she has yet to get a full-time job, though not for lack of trying. She seems to be living her life haphazardly, not too serious, so she can relate to Hodaka being closer in age, but over time, she seems to mature like Hodaka. Similarly, Keisuke seems to be more like Hodaka, only he already has lots of responsibilities. Unlike the other two, Keisuke already has years of being an adult with his own set of responsibilities, so his focus on money (at times) feels like a result of being a boring adult already. Maybe it’s best to say that Keisuke’s the same as the other two but only with more years of experience and weary along with him, so it’s hard to fault him for his viewpoints. Saying “he’s too old to understand” doesn’t really explain it well, but I can’t think of anything better to say about him.

    I enjoyed the film, but I have to say that it didn’t exactly resonate with me the way Your Name did. At the end of Your Name, I had a feeling that I really, REALLY wanted to watch it again (with someone else). Ultimately, that never happened, but with Tenki no Ko, I didn’t have that feeling this time around. The magic found in his previous works is certainly there, but from another viewpoint, perhaps due to the success of Your Name, this film feels ‘mainstream’. If Tenki no Ko wasn’t associated with Shinkai, then I wouldn’t mind it, but after seeing his previous films, mainstream would not be how I would describe him. That’s not necessarily a totally bad thing, Your Name felt mainstream up until the plot twist, so being mainstream isn’t bad. Maybe I’m just nitpicking here. I’m trying to say that despite a shade of being mainstream, perhaps even more obvious than Your Name, this is totally a Shinkai film and really enjoyable.

    All in all, I really enjoyed this film. I may have harped on this idea of the film being mainstream too much, but that does not detract at all from my overall experience of the film. I liked it, I had fun watching it, and I want to watch it again.

    Liked by 1 person

    • infinitezenith June 11, 2020 at 21:55

      Weathering with You is a big movie to unpack, so that’s understandable. I think that the movie came out at a time that’s roughly consistent with the gaps between his earlier movies (four years between Five Centimetres per Second and Children Who Chase Lost Voices From Deep Below, two years between Children Who Chase Lost Voices From Deep Below and The Garden of Words, three years between The Garden of Words and Your Name, and three years between Your Name and Weathering with You). On this pattern, Shinkai’s next film will likely be 2022-2023, which isn’t really that far away.

      I feel that Weathering with You introduced a bit too much into its story because Shinkai had quite a bit on his mind for the film, and consequently, some elements were not covered in the same depth as others. The Makarov pistol was quite unnecessary. For Natsuki and Hodaka’s assumption, that could be chalked up to youthful naïveté more than anything. While there are some bumps here and there, the movie is, overall, fun.

      The themes I found in the the movie were deliberately chosen after seeing the progress Hodaka made; Weathering with You begins because he ran away from home, he runs away from trouble whenever he can. He changes after meeting Hina, slowly beginning to own his actions, and towards the film’s end, he can be seen as running towards Hina, rather than away from the police. At this point, the boundaries are blurred, and by the epilogue, it turns out that once he’s able to save Hina, he accepts the consequences for his actions. I think that Shinkai had Keisuke present to show precisely how the experience youth go through are things that older people go through, as well, and that accepting their advice can mean saving oneself a bit of trouble. This is the more human side of Weathering with You that I wanted to emphasise, since almost every discussion elsewhere attempted to force a political message into Shinkai’s intentions. In the attempt to be politically relevant, and projecting a sense of moral righteousness about themselves, many reviewers for larger publications completely failed to appreciate and understand Shinkai’s goals.

      Weathering with You existed in Your Name‘s shadows since Shinkai began conceptualising it: the latter had been a film of gargantuan proportions and was easily his most ambitious project. Weathering with You emulates some of the elements that made Your Name successful, and this definitely does leave the film feeling like it treads on familiar ground, predictable. In spite of this, the characters of Weathering with You are distinct and have their own charm. Their experiences and lessons learnt separate Weathering with You from Your Name sufficiently. With this being said, I would like for Shinkai’s next work to be a “back to the basics” and retain his unique signature way of doing things, while at once, exploring newer ground.

      I’m glad to hear you had fun with the film, and reading your thoughts on the film (thanks for sharing!), your enjoyment is conveyed 🙂 I think this is the sort of discussion that’s missing out there: people probably enjoyed Weathering with You a lot more than they let on and are conflicted about its similarities to Your Name.

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  4. Jake Rutigliano June 11, 2020 at 16:19

    You should read the novelization. It does confirm that Hodaka was getting beaten up by his dad. If you ask me, he’s like a genderbent Rose from Titanic. Maybe Neil from Dead Poets Society. Or Beau from Red Dead Redemption 2.

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    • infinitezenith June 11, 2020 at 21:59

      Thanks for the suggestion: the novelisation is definitely something that catches my fancy. Having read Makoto Shinkai’s other books, I found them to provide answers that the movies alone do not address, and this creates a much more vivid, deeper appreciation of the characters and what drives their actions.

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  5. KubusSc7 June 20, 2020 at 05:09

    Fantastic review! I was surprised when I found out Shinkai had created another movie. I’m so out of the loop most of the time when you can’t use twitter, where most social stuff is shared around on the world.

    I had to see it ASAP and oh boi was that a ride! Above all the visuals is the first thing that catches your eyes. It’s a very simialr style to Your Name, especially the contrast between the people and the background. The whole city looks so full of life! Every single background could be a wallpaper on it’s own. So many details!

    And when you got used to appreciate the art style in silence and pay attention to the story, you see the similarities to Your Name. And you are not surprised when finding out they are in the same universe, so it makes sense to keep the style and feeling the same.
    I fell in love with this movie from the first minute. It had some Ups and lower Ups, but not really down, which is what I expect from Shinkai at this point. And you wrote it best, that this might have been a problem for him, because he has to live up to a higher standart now. Too much pressure is not a good thing. That’s why I was surprised that Weathering with You came out only 3 years after Your Name. That’s not a lot of time. And it feels. Not in a too bad way, tho. Let’s just say Your name was a personal perfect 10/10 for me. I can’t find anything wrong with it. Not a single criticism. I could say some criticism about Weathering with You, tho. But you pointed it out yourself already very well.

    So let’s just end this by saying: I watched it in this month several times and i start to like it more and more than the first viewing, where I already fell in love. The characters are lovely, Hina is such a sweet girl, giving a stranger a burger, trying to take care of her brother, even lying about her age and teasing Hodoka. While also presenting herself as waifu material when she makes food for him, trying to make him comfortable, asking him about his problems, listening, being understanding instead of pesking him…like western women would do in western media these days. This movie shows me the vast difference between the different cultures of the West and Japan. Japan is indeed hopeful, it tries to connect with people, not divide. Personal responsibility is indeed something that Japan is doing very well to teach their children.

    I will watch it many more times and will look forward to his next movie. ❤

    Thanks for your review!

    Liked by 1 person

    • infinitezenith June 28, 2020 at 13:56

      Firstly, thank you very much for taking the time to provide feedback! Your Name certainly does feel like Makoto Shinkai’s magnum opus with its scale and scope, but this isn’t to diminish what Weathering with You accomplishes, either. While the comparisons between his two works are inevitable, I tried my best to minimise them; the Weathering with You comes out in the shadows of its immensely successful predecessor, and I felt it fairest to focus on Weathering with you on its own.

      Weathering with you‘s greatest strength does seem to be Hina: if there’s anything Shinkai has improved upon as he’s continued to write and produce movies, it’s his female characters, who become increasingly lifelike and relatable. Through Hina and the rest of the film, it is definitely true that Shinkai speaks of unity, of people banding together to help one another out through difficult times. This is something that is noticeably absent on this side of the world, where adversity appears to be driving people even further apart.

      I imagine that on your subsequent revisits of the movie, you will find new, small details that enhance your experience, so that’s definitely worthwhile 🙂 At present, I imagine that Shinkai’s next work will likely be a 2022 release, corresponding to 2023 when the rest of the world sees it. While it would be nice to see another one of his films so soon, I personally would be okay with it if Shinkai took more time to write a story that he is happy with!

      Like

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